Film Review: Salvador (1986)

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Last year El Salvador became first country in the world to adopt Bitcoin as its official currency. While there were many reasons for that decision, at least some of them stemmed from the grim and traumatic events that had happened in that country many decades ago and which are depicted in Salvador, 1986 film known as the first in the series of politically charged works by American director Oliver Stone.

The film is based on real events related to American photojournalist Richard Boyle, who also co-wrote script with Stone. The plot begins in 1980, when Boyle (played by James Woods), once famous for his coverage of conflicts in Vietnam, Cambodia, Northern Ireland and Lebanon, has hit rock bottom because of alcohol, drugs and arrogance. Abandoned by wife, left penniless and unemployable by mainstream news organisation, he decides to try his luck as freelance reporter in El Salvador, country which has recently became politically unstable because conflict between government and leftist FMLN guerillas. Accompanied by San Francisco disc jockey Doctor Rock (played by Jim Belushi), he travels to the country and meets some old contacts he had made while covering brief 1969 Football War. This is also an opportunity to rekindle relationship with local girl Maria (played by Elpidia Carillo) with whom he had a son. He soon learns that the situation in the country is worse than imagined – government increasingly relies on right-wing paramilitaries and death squads organised by Major Max (played by Tony Plana, based on real life personality of Roberto D’Aubuisson) whose massacres turn most of the country, and even Catholic clergy led by Archibishop Oscar Romero (played by José Ruis Carlos) against government. As the violence intensifies, Boyle becomes concerned for Maria’s life as well as his own.

Although this wasn’t his directorial debut, Oliver Stone at the time was best known as screenwriter and Salvador in many ways symbolically represented his start of directorial career that would soon afterwards reach great heights with “Oscar”-awarded Platoon. Lack of directorial experience can’t be seen in this film, which is made with steady hand of an accomplished and skilled film maker. Although having relatively small budget, Stone shows great skill in making film look epic, especially near the end when he confidently uses Mexican locations and meagre resources to stage spectacular scenes of battle between government and FMLN guerillas. But Stone’s accomplishment is even greater in a way with which he transforms from what starts as character study of self-destructive failed journalist into frank depiction of country during fratricidal turmoil and ends as passionate display of author’s strong political views.

Salvador was made during the zenith of Reagan’s presidency, in time when American public (and most of Hollywood with it) have re-embraced Cold War and policy of fighting Communism at all cost, even if it meant massive loss of American or, in this case, Salvadorean lives. Stone, once enthusiastic supporter of Vietnam War, have turned against US government after his first hand experiences in jungle and in mid 1980s, like some old anti-war activists, became concerned that history might repeat, only this times in jungles of Central America instead of Indochina. This is presented in scenes that feature Boyle interacting with well-meaning US ambassador Tom Kelly (played by Michael Murphy, based on real life Robert White), as well as his subordinates from military and intelligence community which claim that even bloodthirsty maniacs like Major Max are better alternative than having that particular piece of Central America fall into the hands of Soviet Bloc and Communists. Stone doesn’t hide that his sympathies are completely opposite and FMLN guerillas are presented as poorly armed but enthusiastic freedom fighters; the only exception is scene near the end when they execute captured government soldiers much to the horror and disappointment of Boyle who warns them “that they will become like them”. There is also scene that features US military servicemen arriving to El Salvador and being interviewed by compliant television reporter (played by Valerie Wildman) during which they reassure her that they aren’t there to fight guerillas and that they will only serve as “advisors” – which is exactly how US nightmare in Vietnam began.

Stone had great cast at his disposal. The most effective is James Woods, who received “Oscar” nomination in Best Actor category for his work. He plays a complex character who, despite his serious flaws and errors in judgments, at the end of day tries to do the right thing. Woods is probably most effective in a scene where his character, as a good Catholic, tries to confess his sins and win Church’s approval for marriage with Maria. Most of the lines in this scene were improvised and very much help audience to finally accept the character and adopt his line of view. The rest of cast wasn’t that fortunate, but mostly because their characters weren’t that well-written. Jim Belushi plays Doctor Jack well, but this character is in many ways unnecessary and his alcohol-fuelled antiques serve only to make Boyle more acceptable. Elpidia Carillo brings a lot of warmth and humanity to film, but, again, her character looks little like an obligatory romantic cliché brought to more serious and epic story. Stone has been criticised for playing loose with the facts, and this applies to character of Maria whose fate at the end of the film seems to be inspired by Stone’s criticism of US immigration policy in mid 1980s. Another flaw, although not one that could be blamed on Stone, is lack of proper resolution. Few years after the premiere, civil war in Salvador ended, with both warring sides forming parties that would dominate Salvadorean politics in decades to come and, in many ways, contribute to poverty, corruption and gang violence that ultimately led Salvadoreans to see alternative in Nayib Bukele and his bold Bitcoin plans. But even viewers less familiar with that nation’s history would in the end probably appreciate this piece of bold and passionate film making.

RATING: 7/10 (++)